KCI등재
수열, 음열 : 그 패턴의 음악적 응용 = Musical application of the patterns of set, tone-row, and numerical progression
저자
오세규 (청주교육대학교 작곡)
발행기관
학술지명
권호사항
발행연도
1999
작성언어
Korean
KDC
670.000
등재정보
KCI등재
자료형태
학술저널
수록면
199-244(46쪽)
제공처
소장기관
Between 1923 and 1933 many composers in Europe became aware of H. Cowell's works. Schoenberg invited him to a master class in Berlin in 1932. This contact may account for the forearm piano clusters that figure prominently in Berg's 'Lulu.' Even Bartok wrote for permission to use his clusters. Cowell's big interest in expanding sound resources even led to the sponsorship of Ives and Varese. The latter is linked with Electronic sound texture. At the beginning of the electronic age, the vision of the Futurists had not been forgotten. Moreover, the "new vocalism" of the 1960s saw composers also linked with Electronic sound texture: Berio, Crumb, Penderecki etc.
Other phenomena to be mentioned is an increasing need to simplify creative stance as a reaction against Expressionism. It was acted in ways since 1920. Some have heard, in the 'Carmina Burana' by C. Orff, the aggressive and repetitious figurations, ostinatos. Orff identified some of the most basic elements of music, thereby endorsing many of the simplifying procedures. P. Hindemith also with Schoenberg may be mentioned in this vain of Simplicity. Meanwhile Schoenberg and Stravinsky had demonstrated the capacity to admire each other's music in the early teens. In recent years Boulez judged that "Stravinsky's and Schoenberg's paths to Neo-classicism differ basically only in one being diatonic and the other chromatic. Both composers adopt dead forms. And because they are so obsessed with them they allow them to transform their musical ideas until these too are dead." C. Rosen concluded that Serialism appeared to attempt the realization of the classical dream of a reconciliation between unity and diversity. Webern's path to new music is different though. Together with Schoenberg's concept of Klangfarbenmelodie, his rhythmic-contrapuntal conjunction provided the basis of his personal style - a style to increasing conciseness of expression and economy of motivic content. Much of the fascination of Webern analysis has turned on the observation of the interaction of micro- and macro- formal elements; of color, motif, and rhythm in the service of canon, variation, rondo, scherzo, and sonata forms. Messiaen's interest in the irrational values of Chopin and in Debussy's rhythms no longer dependent on tonality and pulse contributed to a metricality. The rhythmic structures of Greek and Hindu music complemented his investigation into the question of rhythmic and pich modes. The latter was given a explication in his 'Technique de mon langage musical(1944).' Nontheless, Messianen's example led to similarly systematic and serial explorations in the works of his pupils: Boulez proceeded to tackle a larger Beethoven-like four-movement form in the appearance, guise of his 'Second Piano Sonata(1947-48).' Here nonrepetitive, nonhierarchical rhythms achieve a stream of polyphonies and relationships that no ear could be expected to hear. The opening of 'Structures 1a' by Boulez reveals his adaptation of one of Messiaen's pitch modes from 'Mode de valeurs.' Having promoted an all-encompassion order in 'Structures 1a, Book I' Boulez realized that he had written something that was "total." This led to loosening of the technique in 'Le Marteau sans maitre(1952-54),' where the serial orders are undecipherable by the analyst. Stockhausen, by this time, was from Series to Formula. His 'Zeitmasse' for woodwind quintet uses a scale of tempi related to the longest and shortest note values. E. Carter was a special case: metrical modulation and layered forms. His concept of metrical modulation, which followed from Indian talas, Arabic and Balinese systems, Cowell's 'New Musical Resources,' 15th-century music, Skriabin, and Ives, has proven to be identifiable traits to "extension." It means manipulation of timbral and temporal groupings as an aspect of form. Messiaen,, Carter and Cowell, still more minimalist music were from Eastern backgrounds in sonorities and rhythmic structures. Cowell's turn to non-European musics led to the idea of "elastic form." It remained for Cage to translate these impulses not so much into compositions as into divergent aesthetic orientations.
Chance may be involved in the process of composition, in performance, or in both. In the composition process pitches, durations, intensities, and their distribution in time may be chosen by dice throwing, interpretations of abstract designs(Cage), or according to certain mathematical laws of chance(Xenakis). In performance, chance is allowed to operate by leaving some elements and/or their order of appearance to the performer's discretion(Boulez, Stockhausen, Pousseur), thus introducing the idea of choice. The first well-known example of 20th-century aleatory composition was Cage's 'Music of Changes for piano(1951).' Stockhausen had already explored ideas of redundancy in randomly created texts and the aleatoric manipulation of electronic controls, resulting in "an aleatoric layer of individual pulses which speeded up statistically."
In the main portion of this thesis, there mentions two different kinds of computer programs showing Mathematica's matrix operation and designing program modules for repetitive processing and random number production. These are for the applications of such aspects to real composing environments. The latter, random pitch program is in the spirit of the Xenakis' approach to musical structure.
Fractal designs have recently gained attention in the computer music field. They are applicable to musical materials, as demonstrated by Program FRACDEC. Fractals are an example of what is called one-over-f fractional noise. This means that integer patterns generated by the fractal routine will exhibit self-similarity. Many composers consider fractals to be more useful than other types of randomly generated sequences, because they closely relate to and resemble the melodic patterns found in traditional music. Mathematical models derived from the field of Chaos Science have been applied to electronic music or any instrumental/vocal music. One of those is Lorenz's model of fluid behaviour. And one example of composition which shows central idea of order within chaos; various swings between the poles - regular/irregular, loud/soft, atonal/harmonic ancient instrumental timbre/sampled one of ancient instrumental - are manipulated in David Clark's.
서지정보 내보내기(Export)
닫기소장기관 정보
닫기권호소장정보
닫기오류접수
닫기오류 접수 확인
닫기음성서비스 신청
닫기음성서비스 신청 확인
닫기이용약관
닫기학술연구정보서비스 이용약관 (2017년 1월 1일 ~ 현재 적용)
학술연구정보서비스(이하 RISS)는 정보주체의 자유와 권리 보호를 위해 「개인정보 보호법」 및 관계 법령이 정한 바를 준수하여, 적법하게 개인정보를 처리하고 안전하게 관리하고 있습니다. 이에 「개인정보 보호법」 제30조에 따라 정보주체에게 개인정보 처리에 관한 절차 및 기준을 안내하고, 이와 관련한 고충을 신속하고 원활하게 처리할 수 있도록 하기 위하여 다음과 같이 개인정보 처리방침을 수립·공개합니다.
주요 개인정보 처리 표시(라벨링)
목 차
3년
또는 회원탈퇴시까지5년
(「전자상거래 등에서의 소비자보호에 관한3년
(「전자상거래 등에서의 소비자보호에 관한2년
이상(개인정보보호위원회 : 개인정보의 안전성 확보조치 기준)개인정보파일의 명칭 | 운영근거 / 처리목적 | 개인정보파일에 기록되는 개인정보의 항목 | 보유기간 | |
---|---|---|---|---|
학술연구정보서비스 이용자 가입정보 파일 | 한국교육학술정보원법 | 필수 | ID, 비밀번호, 성명, 생년월일, 신분(직업구분), 이메일, 소속분야, 웹진메일 수신동의 여부 | 3년 또는 탈퇴시 |
선택 | 소속기관명, 소속도서관명, 학과/부서명, 학번/직원번호, 휴대전화, 주소 |
구분 | 담당자 | 연락처 |
---|---|---|
KERIS 개인정보 보호책임자 | 정보보호본부 김태우 | - 이메일 : lsy@keris.or.kr - 전화번호 : 053-714-0439 - 팩스번호 : 053-714-0195 |
KERIS 개인정보 보호담당자 | 개인정보보호부 이상엽 | |
RISS 개인정보 보호책임자 | 대학학술본부 장금연 | - 이메일 : giltizen@keris.or.kr - 전화번호 : 053-714-0149 - 팩스번호 : 053-714-0194 |
RISS 개인정보 보호담당자 | 학술진흥부 길원진 |
자동로그아웃 안내
닫기인증오류 안내
닫기귀하께서는 휴면계정 전환 후 1년동안 회원정보 수집 및 이용에 대한
재동의를 하지 않으신 관계로 개인정보가 삭제되었습니다.
(참조 : RISS 이용약관 및 개인정보처리방침)
신규회원으로 가입하여 이용 부탁 드리며, 추가 문의는 고객센터로 연락 바랍니다.
- 기존 아이디 재사용 불가
휴면계정 안내
RISS는 [표준개인정보 보호지침]에 따라 2년을 주기로 개인정보 수집·이용에 관하여 (재)동의를 받고 있으며, (재)동의를 하지 않을 경우, 휴면계정으로 전환됩니다.
(※ 휴면계정은 원문이용 및 복사/대출 서비스를 이용할 수 없습니다.)
휴면계정으로 전환된 후 1년간 회원정보 수집·이용에 대한 재동의를 하지 않을 경우, RISS에서 자동탈퇴 및 개인정보가 삭제처리 됩니다.
고객센터 1599-3122
ARS번호+1번(회원가입 및 정보수정)